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Horse Money Pedro Costa (2014) HORSE MONEY PEDRO COSTA (2014) Filmstart: 8.Oktober 2015 Spielfilmfilm; 103min./ Farbe, Director: Pedro Costa Rating: Not Rated Cast: Ventura, Vitalina Varela, Tito Furtado (in Portuguese & Cape Verdean Creole) Kurzsynopsis: Ventura, bereits der Held aus COLOSSAL YOUTH, wird in einer Nervenheilanstalt behandelt. In einer atemberauben- den Mischung aus Realem und Halluziniertem, Begreifbarem und Unbegreifbarem, Fiktionalem und Dokumentarischem und mit einer einzigartigen Bildsprache wird die Vergangenheit Venturas beleuchtet. Ein komplexer Kinotrip, der Ventura als Gefangener des eigenen Geistes und der portugiesischen Geschichte zeigt. HORSE MONEY, Costas vierter Film, bei dem das ehemalige Armenviertel Fontainhas, und seine Bewohner im Zentrum stehen, erhielt 2014 den Regiepreis in Locarno und gewann den internationalen Hauptpreis des Filmfest Münchens. Wandererstraße 80 D-90431 Nürnberg [email protected] www.grandfilm.de +49 (0)911 810 06 671 1/9 ÜBER DEN FILM ’Horse Money’ beginnt leise mit einer Reihe schwarz-weißer Fotografien. Mehrere Männer liegen zusammengesackt auf Tischen in einem niedrigen Raum; Männer und Frauen sitzen auf einem Haufen zusammen; weiße und schwarze Erwachsene und Kinder posieren vor ihren Häusern, ihre Blicke sind in die Kamera gerichtet; Dann setzen Ton und Farbe ein und bald erscheint ein gealterter, halb- bekleideter kapverdischer Mann, der durch die Dunkelheit Stufen hinabsteigt, wie in einem Kerker. Dieser Mann, Ventura, ist der Hauptdarsteller von Horse Money. Der Film ist eine Mischung aus Spiel- und Dokumentarfilm, in der Ventura reale und erdachte Episoden seines Lebens neu erschafft. Die eingeblendeten Fotografien vor seinem Auftritt stammen von Jacob Riis, einem dänischen Einwanderer in den USA, der das Leben der Bewohner New Yorker Mietskasernen am Ende des 19. und Anfang des 20. Jahrhunderts porträtierte. Indem er diese Fotografien mit Ventura verbindet – ein verarmter Immigrant, der seit Jahrzehnten in Portugal lebt – bettet Regisseur Pedro Costa seinen achten Spielfilm in eine Geschichte der Darstellung ein. Die Eröffnungsszene des Films verrät, dass Costas Arbeit darin besteht, eine verborgene Unterschicht aufzudecken. Riis’ Fotografien tauchen in der Mitte des Films wie ein Echo erneut auf, in einer Sequenz von Stillleben kapverdischer Einwanderer, nachdenklich in ihren Häusern sitzend oder aus dem Fenster schauend. Den Soundtrack zu dieser Passage liefert die bekannteste Band der Kapverden, Os Tubarões („Die Haie“), die „Alto Cutelo“ singen, ein melancholisches Lied über einen Mann, der zum Arbeiten nach Portugal ging und seine Frau in der Heimat zurückließ. In Horse Money deutet alles darauf hin, dass Ventura eine Version dieses Mannes ist. Dieser hochgewachsene, einzelgängerische Mann mit dem Blick eines Gejagten und aufgeblähtem Bauch verließ sein Land, eine frühere portugiesische Kolonie in Afrika, um als Bauarbeiter während dem Ende des Estado Novo, der Diktatur in Portugal zu arbeiten. Er half dabei, mehrere wichtige noch erhaltene Gebäude in Lissabon zu errichten, bis eine Kopfverletzung ihn dazu zwang, in Frührente zu gehen. Viele Jahre lang lebte er mit anderen Kapverdern in dem heute nicht mehr existieren- dem Lissabonner Slum Fontaínhas. Portugals demokratische Regierung ließ es zu Beginn der 2000er Jahre niederreißen. Der Hauptteil von Horse Money zeigt einen verwirrten Ventura, der durch lange, dunkle Korridore eines namenlosen Gebäudes streift, das teils wie ein Gefängnis, teils wie eine Nervenheilanstalt aussieht. Zu Beginn erzählt er einer anderen Person, dass bei ihm eine Nervenkrankheit diagnostiziert wurde. Venturas linke Hand zittert unentwegt, und manchmal bebt sein ganzer Körper, wenn schmerz- hafte Erinnerungen hochkommen; an anderer Stelle huscht ein Lächeln über sein Gesicht, wenn er sich an seine Frau Zulmira erinnert, die ihm zufolge immer noch auf den Kapverden ist und die er hofft, eines Tages nachholen zu können. Manchmal erscheint er mit einem Stück Papier in seiner Hand, vermutlich ein an sie gerichteter Brief. Wer Pedro Costas Filme kennt, wird sich vermutlich an Ventura erinnern. In den späten 1990er Jahren entschied sich der Regisseur, in Fontaínhas zu filmen, wobei die dortigen Bewohner seine Schauspieler waren. Das erste Produkt dieser Wahl war das verblüffend direkte Drama Ossos („Knochen“, 1997), mit wenigen Darstellern, das zweite das eher träge Epos In Vandas Zimmer (2000), das intime Porträts der willensstarken Titelfigur Vanda Duarte und der Leute um sie herum vor dem Hintergrund rollender Bulldozer zeigte. Er traf Ventura während der Dreharbei- ten zu In Vandas Zimmer, als Figur setzte er ihn aber erst in Jugend Voran! (2006) ein. In dem Film läuft Ventura durch ein schrumpfendes Fontaínhas, das nieder- gewalzt wird, um Sozial-wohnungen Platz zu machen. Er sucht nach den vielen Menschen, die er seine Kinder nennt (darunter auch Vanda) und fordert sie auf, mit ihm zusammenzuleben. Costa arbeitet größtenteils ohne Drehbuch, stattdessen schnappt er Stichworte von seinen Hauptdarstellern auf und lässt sie Form und Verlauf seiner Filme bestimmen. Die laute, geschwätzige, häufig sitzende, drogenabhängige Vanda forderte Costa heraus, sie direkt und unbeschönigt zu filmen. Der ruhigere, träumerische Ventura wiederum erlaubte es dem Regisseur, ihm auf seinen Hun- derten von Spaziergängen zu folgen und führte Costas Kamera durch seinen Blick, der seine Erinnerung physischen Orten überzustülpen schien. Ventura and Costa haben bis heute an einer Reihe von Filmen zusam- men-gearbeitet, darunter auch die Kurzfilme Tarrafal (2007), The Rabbit Hunters (2007), O Nosso Homem („Unser Mann“, 2010), und Sweet Exorcist (2012), letzterer bestehend aus Szenen, die mit kleinen Änderungen im Schnitt erneut in Horse Money auftauchen. 2/9 Diese Filme zeigen den Unterschied zwischen Venturas innerer und äu- ßerer Gedankenwelt zunehmend uneindeutig, indem sie Sequenzen auf nichtlineare Weise aneinanderreihen, als würden sie sich alle in einem einzigen, gegenwärtigen Augenblick entfalten. Während Horse Money, einem traumähnlichen, fragmenthaften Film, arbeitet sich Ventura durch seinen eigenen Platz innerhalb der portugiesischen Geschichte. Er ist, unter anderem (sowohl im Leben als auch im Film), jemand der auf einer Insel geboren wurde, deren erste Bewohner durch den Sklavenhandel der Portugiesen ins Land kamen; ein Opfer ständiger Armut, dessen Situation sich durch Portugals jüngste Finanzkrise nur noch verschlimmert hat; und ein Augen- zeuge der Nelkenrevolution, die den Estado Novo am 25. April 1974 formell beendete. An jenem Tag putschte eine Gruppe junger Soldaten der linksgerichteten MFA (Bewegung der Streitkräfte) Portugals faschistisches Regime mit Unterstützung der Bevölkerung, und machte den Weg frei für eine demokratische Regierung, die im Namen der Ordnung eine Reihe von Unternehmen verstaatlichte, ohne dabei für bessere Bedingungen für die Arbeiter zu sorgen. Im Verlauf des Films fixiert sich Ventura nicht auf Protestzüge, sondern vielmehr auf seine eigene schreckenerregende Flucht vor den Soldaten, die in den Wäldern nach Dissidenten suchten. Er durchlebt erneut eine schlimme Kopfverletzung, die er am 11. März 1975 bei einem Messerkampf erleidet, am selben Tag an dem ein Gegenputsch scheitert, der zu Restriktionen seitens der Regierung führte. Venturas Leben hat sich seitdem nicht verbessert, eine Tatsache die der Film dann unter- streicht, als er einem Arzt sein Alter nennt: Neunzehn Jahre und drei Monate. Er ist in der Zeit gefangen. In Horse Money tauchen auch einige seiner Mitgefangenen auf, zwei von ihnen stechen dabei hervor. Die erste Person ist eine Kapverderin namens Vitalina Varela, die in der Einrichtung vor Venturas Augen wie ein Geist auftaucht, langsam wandelnd und mit rauer Stimme flüsternd. Sie erzählt ihm, dass sie vor kurzem zum ersten Mal in Portugal angekommen ist, nachdem ihr Mann gestorben ist, und berichtet über die Zerstörung von Venturas Eigentums auf den Kapverden (darunter auch das titelgebende Pferd, das ihr zufolge von Aasgeiern in Stücke gerissen wurde). Es wird von wechselnder Seite angedeutet, dass Ventura Vitalinas Ehemann umgebracht hat; dass er ein noch lebender Mitinsasse ist, der die bedrohlichen Räume des Gebäudes durchstreift; und dass dieses andere Paar die Projektion seiner Schuld darstellt, nicht zu Hause zu sein; Die zweite Figur ist die lebende Statue eines Soldaten der Nelkenrevolution (gespielt von Antonio Santos), mit dem zusammen sich Ventura, im Schlafanzug, in der langen Endsequenz des Films plötzlich in einem Aufzug wiederfindet. Dieser wirft Ventura vor, ein nutzloses Leben geführt zu haben und stellt all seine Leistungen in Frage, darauf beharrend, dass man sie bald vergessen haben wird. „Wo bist du jetzt, Ventura?“ fragt er immer wieder, anklagend. Dieses Aufeinandertreffen zwingt Horse Moneys zitternde Hauptfigur dazu, sich selbst zu erklären, und Wege zu finden, gegen das Vergessen anzukämpfen. 3/9 Interview mit Pedro Costa Interview Aaron Cutler in: Cineaste Magazin April 27, 2015 Übersetzung: Johannes Reiß Cineaste: Wie wollten Sie die Nelkenrevolution in Horse Money darstellen? Pedro Costa: Zu Anfang möchte ich gerne betonen, dass Sie mich eigent- lich gar nicht brauchen, um irgendwas über den Film zu sagen. Ich hoffe, dass dieser Film für sich selbst denken, sehen, hören kann. Vielleicht ärgert das einige Leute, aber es gibt da keine Geheimnisse oder künst- lerischen Tricks, die es zu enthüllen gäbe. Alles was ich sagen kann, ist alles was auf der Leinwand zu sehen ist. Die Dreharbeiten
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